Now imagine that’s the best thing to happen to you all week …When Charlie sees a man who is the spitting image of her husband Oliver on a dating app, her heart stops. Her first desperate instinct is to tell herself she must be mistaken – after all, she only caught a glimpse from a distance as her friends were laughingly swiping through the men on offer. But no matter how much she tries to push her fears aside, she can’t because she took that photo. On their honeymoon. She just can’t let it go.Suddenly other signs of betrayal begin to add up and so Charlie does the only thing she can think of to defend her position – she signs up to the app to catch Oliver in the act.But Charlie soon discovers that infidelity is the least of her problems. Nothing is as it seems and nobody is who she thinks they are ...

    But one day, Millie’s mum leaves her alone beneath the Ginormous Women’s underwear rack in a department store, and doesn’t come back.Agatha Pantha is an eighty-two-year-old woman who hasn’t left her home since her husband died. Instead, she fills the silence by yelling at passers-by, watching loud static on TV, and maintaining a strict daily schedule. Until the day Agatha spies a little girl across the street.Karl the Touch Typist is eighty-seven years old and once typed love letters with his fingers on to his wife’s skin. He sits in a nursing home, knowing that somehow he must find a way for life to begin again. In a moment of clarity and joy, he escapes.Together, Millie, Agatha and Karl set out to find Millie’s mum. Along the way, they will discover that the young can be wise, that old age is not the same as death, and that breaking the rules once in a while might just be the key to a happy life.

    But long before Cold Chisel and 'Barnesy', long before the tall tales of success and excess, there was the true story of James Dixon Swan - a working class boy whose family made the journey from Scotland to Australia in search of a better life.Working Class Boy is a powerful reflection on a traumatic and violent childhood, which fuelled the excess and recklessness that would define, but almost destroy, the rock'n'roll legend. This is the story of how James Swan became Jimmy Barnes. It is a memoir burning with the frustration and frenetic energy of teenage sex, drugs, violence and ambition for more than what you have.Raw, gritty, compassionate, surprising and darkly funny, Jimmy Barnes's childhood memoir is at once the story of migrant dreams fulfilled and dashed. After arriving in Australia in the summer of 1962, things went from bad to worse for the Swan family - Dot, Jim and their six kids. The scramble to manage in the tough northern suburbs of Adelaide in the 60s would take its toll on the Swans as dwindling money, too much alcohol and fraying tempers gave way to violence and despair. This is the story of a family's collapse, but also of a young boy's dream to escape the misery of the suburbs with a once-in-a-lifetime chance to join a rock'n'roll band and get out of town for good.

    This is Marian Keyes meets Allison Pearson, with a dash of Caitlin Moran.Going from one child to two is never all that easy for a family, but when Emma's husband simultaneously fathers a third child three doors up the street, things get very tricky, very fast.No longer is it enough for Emma to be the best wife and mother - now she's trying to be the best ex-wife, and the best part-time parent to her ex's love child, and that's before she even thinks about adding a new bloke to the mix.Set in an upwardly mobile, ultra-competitive suburb, this is a funny, biting, heartwarming modern comedy that looks at the roles we play, how we compete, and what happens when we dare to strive for second-best.

    What are your fictions?Tara Moss has worn many labels in her time, including 'author', 'model', 'gold-digger', 'commentator', 'inspiration', 'dumb blonde', 'feminist' and 'mother', among many others. Now, in her first work of non-fiction, she blends memoir and social analysis to examine the common fictions about women. She traces key moments in her life - from small-town tomboy in Canada, to international fashion model in the 90s, to bestselling author taking a polygraph test in 2002 to prove she writes her own work - and weaves her own experiences into a broader look at everyday sexism and issues surrounding the underrepresentation of women, modern motherhood, body image and the portrayal of women in politics, entertainment, advertising and the media. Deeply personal and revealing, this is more than just Tara Moss's own story. At once insightful, challenging and entertaining, she asks how we can change the old fictions, one woman at a time.'This book, part memoir, part manifesto, catapults [Tara] into the frontline as a public commentator who demands serious attention. She is a welcome addition to any conversation about social justice, public ethics and the objectification of women, about which she knows a great deal.' Caroline Baum'a nimbly argued, statistic-laden exploration of the various labels we give women and the impact this has on their lives' Catherine Keenan, ABC The Drum'This is a book which needs to be read by men and women. Well written, clearly argued, informative, powerful and thought provoking. Forget everything you thought you knew about Tara Moss, with The Fictional Woman, Tara sets the record straight and takes her place as one of our generations great commentators.' John Purcell, Booktopia

    The crash wakes Charlie’s sister, Abby, who’d been sleeping in the passenger seat next to him. They were heading to their father’s farm.A dead woman has no place in either of their plans. They drive away, leaving her on the ground as heavy rain falls. They cannot help her, there are no witnesses, and there is too much at stake.When they arrive at the farm, the siblings learn that the dead woman, Skye, was their father’s fiance.They resolve to tell no one what they’ve done — to admit to this crime will cost them their father and their future. Charlie leans on his older sister to lead them out of trouble, to act as the protector she’s had to be since their mother died. But their secret grows more complicated by the day.Abby, however, is not one to give up. She keeps the single piece of evidence hidden, and decides to redeem herself. She determines to raise Skye’s son as her own, study, and make a difference. She is convinced that she and Charlie can get back on track. But along the way, they need to reconsider exactly what it is they want.

    The people she writes abut are young, old, rich, poor, married, widowed, Chinese, Lebanese, Christian, Muslim. What they have in common—no matter where they come from—is the desire we all share to feel that we belong. The stories explore universal themes of love, loss, family and identity, while at the same time asking crucial questions about the possibility of human connection in a globalised world.Melanie Cheng is an important new voice, offering a fresh perspective on contemporary Australia. Her effortless, unpretentious realism balances an insider’s sensitivity and understanding with an outsider’s clear-eyed objectivity, showing us a version of ourselves richer and more multifaceted than anything we’ve seen before.

    it just happens to be narrated by a galah called Lucky.It's 1969 and a remote coastal town in Western Australia is poised to play a pivotal part in the moon landing. Perched on the red dunes of its outskirts looms the great Dish: a relay for messages between Apollo 11 and Houston, Texas.Radar technician Evan Johnson and his colleagues stare, transfixed, at the moving images on the console -although his glossy young wife, Linda, seems distracted. Meanwhile the people of Port Badminton have gathered to watch Armstrong's small step on a single television sitting centre stage in the old theatre. The Kelly family, a crop of redheads, sit in rare silence. Roo shooters at the back of the hall squint through their rifles to see the tiny screen.I'm in my cage on the Kelly's back verandah. I sit here, unheard, underestimated, biscuit crumbs on my beak. But fate is a curious thing. For just as Evan Johnson's story is about to end (and perhaps with a giant leap), my story prepares to take flight...SHORTLISTED FOR THE 2019 RUSSELL PRIZE FOR HUMOUR WRITINGSHORTLISTED FOR THE UST GLENDA ADAMS AWARD FOR NEW WRITING (2019 NSW PREMIER'S LITERARY AWARDS)SHORTLISTED FOR THE READINGS PRIZE FOR NEW AUSTRALIAN FICTION 2018LONGLISTED FOR THE INDIE BOOK AWARD FOR DEBUT FICTION 2019LONGLISTED FOR THE DUBLIN LITERARY AWARD 2020PRAISE FOR THE LUCKY GALAH"A fresh and surprising novel - thoroughly Australian, joyful and magnificently original" Charlotte Wood, author The Natural Way of Things"This book is a bundle of Australian kook ready to disarm, charm and move its readers. Embrace it." Booktopia"This clever and enjoyable book will appeal to a broad range of readers." Books + Publishing"The Lucky Galah is a bold and astoundingly brave novel..." The Newtown Review of Books"It is a book that is at once humorous and heartfelt, and evokes a specific era in Australian history very well." Readings

    After lunch, a group of three of the girls climbed into the blaze of the afternoon sun, pressing on through the scrub into the shadows of Hanging Rock. Further, higher, till at last they disappeared.They never returned.Whether Picnic at Hanging Rock is fact or fiction the reader must decide for themselves.

    In a society obsessed with natural history and the discovery of new species, the birdman’s wife was at its glittering epicentre. Her artistry breathed life into hundreds of exotic finds, from her husband’s celebrated collections to Charles Darwin’s famous Galapagos finches.Fired by Darwin’s discoveries, in 1838 Elizabeth defied convention by joining John on a trailblazing expedition to the untamed wilderness of Van Diemen’s Land and New South Wales to collect and illustrate Australia’s ‘curious’ birdlife.From a naïve and uncertain young girl to a bold adventurer determined to find her own voice and place in the world, The Birdman’s Wife paints an indelible portrait of an extraordinary woman overlooked by history, until now.

     “Readers who loved the quiet introspection of Anita Shreve’s The Pilot’s Wife and Elizabeth Strout’s Olive Kitteridge will enjoy the detailed emotional journeys of Hay’s characters. Their stories will linger long after the final page is turned” (Library Journal).When Elsie Gormley falls and is forced to leave her Brisbane home of sixty-two years, Lucy Kiss and her family move in, eager to make the house their own. Still, Lucy can’t help but feel that she’s unwittingly stumbled into an entirely new life—new house, new city, new baby—and she struggles to navigate the journey from adventurous lover to young parent. In her nearby nursing facility, Elsie traces the years she spent in her beloved house, where she too transformed from a naïve newlywed into a wife and mother, and eventually, a widow. Gradually, the boundary between present and past becomes more porous for her, and for Lucy—because the house has secrets of its own, and its rooms seem to share with Lucy memories from Elsie’s life. Luminous and deeply affecting, A Hundred Small Lessons is a “lyrically written portrayal” (BookPage, Top Pick) of what it means to be human, and how a place can transform who we are. It’s about a house that becomes much more than a home, and the shifting identities of mother and daughter; father and son. Above all else, this is a story of the surprising and miraculous ways that our lives intersect with those who have come before us, and those who follow.

    To escape her guilt and her parents' bitter disapproval, Cate leaves Perth for her aunt Ida's isolated farm in country Western Australia.Henry is a drifter, a young swagman-like character who wanders onto the Christie family property and takes up residence in a disused shed. With secrets of his own, the last thing he wants is to get tangled up in Cate and Ida's lives.Against their own better judgement, the fates of Cate and Henry and Ida inexorably intertwine and they learn to face the realities of life, death and letting go.A witty, charming and moving debut rural romance about what makes a good death and, more importantly, what makes a good life.

    Hard-drinking, foul-mouthed, and allergic to bullshit, Jean is not your usual grandma. She’s never been good at getting on with other humans, apart from her beloved granddaughter, Kimberly. Instead, she surrounds herself with animals, working as a guide in an outback wildlife park. And although Jean talks to all her charges, she has a particular soft spot for a young dingo called Sue.As disturbing news arrives of a pandemic sweeping the country, Jean realises this is no ordinary flu: its chief symptom is that its victims begin to understand the language of animals — first mammals, then birds and insects, too. As the flu progresses, the unstoppable voices become overwhelming, and many people begin to lose their minds, including Jean’s infected son, Lee. When he takes off with Kimberly, heading south, Jean feels the pull to follow her kin.Setting off on their trail, with Sue the dingo riding shotgun, they find themselves in a stark, strange world in which the animal apocalypse has only further isolated people from other species. Bold, exhilarating, and wholly original, The Animals in That Country asks what would happen if - for better or worse - we finally understood what animals were saying.

    On one edge of Antarctica is Wilkes Station. Beneath Wilkes Station is the gate to hell itself...A team of U.S. divers, exploring three thousand feet beneath the ice shelf has vanished. Sending out an SOS, Wilkes draws a rapid deployment team of Marines-and someone else...First comes a horrific firefight. Then comes a plunge into a drowning pool filled with killer whales. Next comes the hard part, as a handful of survivors begin an electrifying, red-hot, non-stop battle of survival across the continent and against wave after wave of elite military assassins-who've all come for one thing: a secret buried deep beneath the ice...

    The evidence insists that Aboriginal people right across the continent were using domesticated plants, sowing, harvesting, irrigating and storing – behaviours inconsistent with the hunter-gatherer tag. Gerritsen and Gammage in their latest books support this premise but Pascoe takes this further and challenges the hunter-gatherer tag as a convenient lie. Almost all the evidence comes from the records and diaries of the Australian explorers, impeccable sources.